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伦敦PARASOL UNIT当代艺术中心PARASOL UNIT,LONDON 2011.09.13～2012.11.06与杨福东显见的黑白电影美学特征相比,其作品的立足点和意图方向却并不好把握,然而也许答案就在其塑造的人物身上:他们少言多思,并且经常是被隔绝在一个抽象的时间画面中。这种优雅的疏离感在其个展“八月的二分之一”中再度被启用,展览从《第五夜》(2010年)开始,这件七频录像装置作品以男人女人在城市广场上无目的的漫游开场。此时广场变成了舞台,其中有沙发和不知通往何处的楼梯,有锻铁工人以及往车上搬运家什的青年。整个场景暗示了一场介于事件发生前后的撤离行动,这点通过镜头中闪现的人物因抽离隔绝感与困惑情绪而
PARASOL UNIT Contemporary Art Center London PARASOL UNIT, LONDON 2011.09.13 ~ 2012.11.06 The foothold and intentions of his works are not as good as those of Yang Fudong’s obvious black and white films. However, the answer may lie in his creation People: They make a lot of thought and often are isolated in an abstract time frame. This elegant sense of alienation was re-enabled in his solo exhibition “Half of August”. The exhibition started with “The Fifth Night” (2010). The seven-frequency video installation works with men and women in the city Square purposeless roaming opening. The square became a stage at this time, with sofas and staircases that I did not know where to go, wrought iron workers and young men who were moving cars. The whole scene hinted at an evacuation that occurred before and after the incident, as the characters flashed through the lens were distracted by sentimentality and confusion